Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Togo and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Edmonton.
I'm losing my edge to the art-school Mumbai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing John Holt to the techno kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Urselle. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Nirvana,
Big Daddy Kane,
The Chocolate Watch Band,
ABC,
Orchestral Manoeuvres in the Dark,
Mandrill,
The Associates,
The Durutti Column,
Ituana,
Traffic Nightmare,
Anakelly,
H. Thieme,
The Human League,
The Misunderstood,
Warsaw,
The Royal Family And The Poor,
Mad Mike,
Ultra Naté,
U.S. Maple,
Kevin Saunderson,
Main Source,
The Grass Roots,
Stockholm Monsters,
A Flock of Seagulls,
Kango’s Stein Massive,
Marc Almond,
Television,
Tres Demented,
Marmalade,
Pharaoh Sanders and the Fire Engines,
Stiv Bators,
The Beau Brummels,
Duran Duran,
Underground Resistance,
Wire,
R.M.O.,
Rufus Thomas,
Funkadelic,
Lower 48,
Bill Wells,
Arcadia,
KRS-One,
Agitation Free,
F. McDonald,
Delon & Dalcan,
The Slits,
Echospace,
Johnny Osbourne,
The Modern Lovers,
Los Fastidios,
Teenage Jesus and the Jerks,
Sun City Girls,
The Flesh Eaters,
Kerri Chandler,
Tim Buckley,
Cal Tjader,
Bobby Womack,
Bang on a Can All-Stars,
The Birthday Party,
The Angels of Light,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.